Christopher Simpson (ca.1605-1669)
"The Division-Viol, or The Art of Playing ex tempore to a Ground" (1665)

Of the VIOL it self, with Instructions how to Play upon it.

A VIOL in the hands of an excellent Violist may (no doubt) be reckon'd amongst the best of Musical Intsruments. To Play ex tempore to a Ground is the highest perfection of it: And this is the Subject of our present Discourse. But first we must treat of some things necessary to that designe; as namely, First, a Viol fitted for that purpose; Next, Hands enabled to Play upon it; And then, some knowledge in the Concords of Music. With these therefore we will begin, in assistance to such as are not sufficiently informed therein: And first concerning the VIOL.

§ 2. What kind of Viol is fittest for Division, and how to be accomodated.

A Viol for Division, should be of something a lesser size than a Consort Bass; that so the Hand may better command it: more or less short, according to the reach of his fingers, who is to use it: but the ordinary size, such as may carry a String of thirty Inches from the Bridge (duely placed) to the Nut. The Sound should be quick and sprightly, like a Violin; and Viols of that shape (the Bellyes being digged out of the Plank) do commontly render such a Sound.
It must be accommoated with six Strings; and with seven Frets, like those of a Lute, but something thicker. If also you fasten a small Fret, at the distance of an Octave from the open Strings (which is the middle betwixt the Nut and the Bridge) it will be a good Guide to your Hand, when you stop that part of the Finger-board.
The Strings a little bigger than those of a Lyra-Viol; which must be laid at the like nearness to the Finger-board, for ease and convenience of Stopping.
The Bridge, as round as that of a Consort Bass; that so each several String may be hit with a bolder touch of the Bow.
The Plate, or Finger-board, exactly smooth and even. Its lenth, full two parts of three, from the Nut to the Bridge. It must also be of a proportionate roundness to the Bridge; so, that each String may lye at an equal nearness to it. As for example: If the Roundness of the Bridge, be as the Arch A.B. then I would have the low end of the Finger-board to be as C.D. and the top of it, as E.F.

§ 3. What kind of bow.

A Viol-Bow for Division, should be stiff, but not heavy. Its lenth (betwixt the two places where the Hairs are fastened at each end) about seven and twenty Inches. The Nut, short. The height of it about a fingers breadth, or little more.

§ 4. How to hold or place the Viol.

BEing Conveniently seated, place your Viol decently betwixt your knees; so, that the lower end of it may rest upon the calves of your legs. Set the Soles of your feets flat on the floor, your Toes turn'd a little outward. Let the top of your Viol be erected towards your left shoulder; so, as it may rest in that posture, though you touch it not with your hand.

§ 5. How to hold and move the Bow.

Hold the Bow betwixt the ends of your Thumb and two foremost fingers, near to the Nut. The Thumb and first finger fastned on the Stalk; and the second fingers end turned in shorter, against the Hairs thereof; by which you may poize and keep up the point of the Bow. If the second finger have not strength enough, you may joyn the third finger in assistance to it; but in Playing Swift Divivision (sic), two fingers and the Thumb is best.
Holding the Bow in this posture, stretch out you arm, and draw it first over one String and then another; crossing them in right angle, at the distance of two or thre Inches from the Bridge. Make each several String yeild a full and clear sound; and order your knees so, that they be no impediment to the motion of your Bow.

§ 6. The posture of the Left Hand.

WHen you are to set your fingers upon the Strings, you must not grasp the Neck of your Viol, like Violin; but rather (as those that Play on the Lute) keep your Thumb on the back of the Neck, opposite to your fore-finger; so as your Hand may have liberty to remove up and down, as occasion shall require.

§ 7. How the Viol is Tuned, and applyed to the Scale of Musick.

WE now suppose you to understand Song, and consequently the Scale of Musick; which known, the Tuning of your Viol appears in such order as you see the six Semibreves which stand one over another, in the first part of the following Scale: where note, that all the degrees arising above the highest of those Semibreves, are expres'd on the Treble or highest String, by stopping it still lower and lower towards the Bridge.

Your Viol being tuned according to the six Semibreves, your next business is, to play those other Notes, which you see ascend and descend by degrees, over which I have set Figures to direct you with what Finger to stop them; 1, 2, 3, 4, is set for first, second, third, and fourth Finger Those which have no figures over them, are played on the open Strings.

§ 8. How the same Notes may be play'd upon different Strings.

YOU must know that sometimes Notes are play'd, not on those Strings to which they seem properly to belong; but for ease or better order of Fingering, are play'd upon some other String: An Instance whereof you have in those two Notes marked with little Stars over their Figures; which Notes, are play'd upon the second String; though, a little before, Notes standing in the same places were played upon the Treble or first String: and therefore, when any difficulty shall occur in Fingering, you are to consider how the same Notes may be express'd with most ease and convenience to the Hand.

The Example before-going was set in the whole Scale, that you might better perceive where every Line and Space take their places upon the Viol: But those that follow, must be set down in the usual way of five Lines; and when Notes exceed the Compass they are reduced again into the said five Lines by setting another Cliff.

This which follows I would have you practise, first in a slow measure; increasing the quickness by degrees, as your Hand advanceth in readiness: and be sure to make all your Notes sound clear and full; pressing the Strings firm and hard with the very ends of your Fingers. Also give as much Bow to every Quaver, as the length thereof will permit. But before you set upon it, read the two Rules which follow it.

§ 9. A Rule for Holding on the Fingers.

WHen you set any Finger down, hold it on there; and play the following Notes with other Fingers, until some occasion require the taking it off. This is done as well for better order of Fingering, Note to Note, without lifting them too far from the Strings, as also to continue the Sound of a Note when the Bow hath left it. Instances of these Holds (for se they are called) you have, where you see such a Stroke as this drawn from One to some other distant Note unto which you must hold it.

§ 10. A Rule for the Motion of the Bow.

WHen you see an even Number of Quavers or Semiquavers, as 2, 4, 6, 8. You must begin with your Bow forward; yea, though the Bow were imployed forward in the next Note before them. But if the Number be odd, as 3, 5, 7; (which alwayes happens by reason of some Prick-Note or odd Rest,) the first of that odd number must be played with the Bow backward. This is the most proper motion of the Bow, though not absolutely without some exception: sor sometimes the quickness of the Notes may force the contrary, as you will see in the end of the fifth Example. Also quick Notes skipping from the Treble to the Bass, and so persued, are best express'd with contrary Bows. Let your next practice be this which followes.

§ 11. Of ordering the fingers in gradual Notes.

IN any point of Division which reaches to the lower Frets or beyond them; the highest Note thereof is alwayes stopt either with the third, or with the fourth finger: If with the third, the first and second fingers take their orderly places in stopping the two Notes gradually ascending to it, or descending from it. If the highest Note imploy the fourth finger, then the next Note under it is stopt either with the third or with the second finger, according to the said under Note being flat or sharp: If sharp, with the third; If flat, with the second finger. But whether the highest Note imploy the third or fourth finger, the Third below doth alwayes imploy the first finger, which serves as a Guide to those two Notes above it. And whereas you will see sometimes two successive Notes stopt one after the other with the same finger, it is alwayes done either to prepare the fingers to this posture, or to remove the said posture to some other place. This Order of Fingering holds good throughout the whole Finger-board (in stopping three gradual Notes upon one String) with this difference only, that where the Stops are wide (as amongst the Frets) the fourth or little finger is of more requisite use than it is lower down where the Stops are more contract.

As for the posture of the Fingers in moving from one String to antoher, I must refer you to your own observation, in making use of what Finger doth offer it self the aptest for stopping any succeeding Note.

If you find difficulty in this Example, play it the slower, until your Hand have overcome it.
I must now propose unto you Notes of a quicker Motion, viz. Demisemiquavers; but not before I have said something of

§ 12. The Motion of the Right Arm and Wrist.

I Told you before that you must stretch out your Arm streight, in which posture (playing long Notes) you will necessarily move your shoulder Joint; but if you stir that Joint in quick Notes, it will cause the whole body to shake; which (by all means) must be avoyded; as also any other indecent Gesture. Quick Notes therefore must be express'd by moving some Joint nearer the Hand; which is generally agreed upon to be the Wrist. The question then arising is about the menage of the Elbow-Joint; concerning which there are two different opinions. Some will have heard a judicious Violist positively affirm, that if a Scholar can but attain to the playing of Quavers with his Wrist, keeping his Arm streight and stiff in the Elbow-Joint, he hat got the mastery of the Bow-Hand. Others contend that the motion of the Wrist must be strengthened and assisted by a compliance or yielding of the Elbow-Joint unto it; and they, to back their Argument, produce for instance a person famous for the excellency of his Bow-hand, using a free and loose Arm. To deliver my own opinion; I do much approve the streightness of the Arm, especially in Beginners, because it is a means to keep the Body upright, which is a commendable posture. I can also admit the Stiffness of the Elbow, in Smooth and Swift Division; for which it is most properly apt; But Cross and Skipping Division cannot (I think) be so well express'd without some consent or yeilding of the Elbow-Joint unto the motion of the Wrist. To gain this Motion of the Wrist, the ordinary direction is, to draw the Hand (in moving the Bow to and fro) a little after the Arm. Or you may try how you can play in the first Example of Quavers by moving your Wrist only, keeping your Arm streight in the Elbow-Joint; a little practice will effect it. This Motion or loosness of the Wrist we mention, is chiefly in Demisemiquavers; for, in Quavers, and Semiquavers too, we must allow so much stiffness to the Wrist as may command the Bow on and off the String, at every Note, if occasion so require.

I will set your next Example in C fa ut, with the lowest String put down a Note, as we commonly do when we play in that Key. And, as I have formerly admonish'd you to practise your Examples first slow and then faster by degrees, that admonition is most requisite in Swift Division, where also you must be carefull that the Motion of your Bow and Fingers do equally answer each other, bearing your Bow moderately stiff upon the Strings, at a convenient distance from the point thereof; by which means you shall make your swiftest Notes more distinguishable: A thing in which many fail, either through want of a due complyance of the Bow to the Strings, or not exactly crossing them at a right distance from the Bridge, or else by playing too near the point of the Bow; which errors I note, that you may avoyd them.

The little peece at the end of this Example, is set as an exception to what was said (pag. 5.) of Beginning each eaven number with a Forward Bow; for here you must play them (as necessity will enforce you by reason of their quickness) some forward, and some backward.

§ 13. How to order the Bow in double Stops.

WHen two, three, or more Notes stand one over another (as you have in two places of the last Example) they must be play'd as One, by sliding the Bow over those Strings which express the sound of the said Notes. When one of them comes by it self, it is commonly play'd with a forward Bow; but if divers of them follow successively (as in the passages hereto annexed) then each other must of necessity be play'd by drawing the Bow back; but whether back or forward, be sure to hit the lowest String first (insisting thereon so long as need requires) and let the Bow slide from It to the highest, touching in its passage those in the middle betwixt them.

The figures for more convenience, are here set before the Notes. Where you see this figure (1) set before two or three Notes in the same Stop; it signifies that the first finger must be laid over all the said Notes: in which, and in all double Stops, the posture of the left hand is the same as if you play'd upon a Thiorba. One Example more, and we have done.

When you have practis'd these Examples according to the Instructions given, you may then, for variety, look upon some of those Divisions at the end of this Book; amongst which some are easie, made purposely for Learners; Others require the hands of a good Proficient. And because in those (as also in other mens Divisions) you will meet sometimes with Tripla's of divers sorts, I will speak something of them in this place.

§ 14. Of Tripla's.

SOmetimes the Grounds themselves are Tripla-time, consisting (usually) of three Semibreves, or three Minims, or three Crotchets to a Measure. Sometimes you may meet with a Tripla upon a Tripla; as for instance, when upon a Ground consisting of three Minims to a Measure, each Minim is divided into three Crotchets, six Quavers, or the like. Again, in Divisions upon Grounds of the Common-Time, you will meet now and then with divers Tripla's, as sometimes three Crotchets to a Minim, producing six Quavers, twelve Semiquavers, &c. Sometimes three Quavers to a Crotchet, and sometimes three Semiquavers to a Quaver; the Measure of all which, will not be hard to find out, where the quantity of each Semibreve is marked out with Strokes or Bars.

It now remains, that in directing the Hand I speak something concerning the Gracing or Notes: and though it depend much upon Humour and Imitation, yet I will try how far it may be deliver'd in words and Examples.

§ 15. Concerning the Gracing of Notes.

GRacing of Notes is performed two wayes, viz. by the Bow, and by the Fingers. By the Bow, as when we play Loud and Soft, according to our fancy, or the humour of the Musick. Again, this Loud or Soft is sometime express'd in one and the same Note, as when we make it Soft at the beginning, and then (as it were) swell or grow louder towards the middle or ending. Some also affect a Shake or Tremble with the Bow, like the Shaking-Stop of an Organ, but the frequent use thereof is not (in my opinion) much commendable. To these may be added that of Playing two, three, four, or more Notes with one motion of the Bow, which would not have that Grace or Ornament if they were play'd severally.

Graces performed with the Finger are of two sorts, viz. Smooth and Shaked. Smooth is, when in rising or falling a Tone or Semitone, we draw (as it were) the Sound from one Note to another, in imitation of the Voyce; and is expressed by setting down or taking off the Finger a little after the touch of the Bow. In ascending it makes that Grace which we call a Plain-Beat, or Rise; in descending, that called a Back-fall. Sometimes a Note is Graced by sliding up to it from a Third below, called an Elevation, now semething obsolete. Sometimes from the Third above, which we call a Double Back-fall. This Sliding a Third is performed commonly upon one String. Again, a Note is sometimes Graced by joyning part of its Sound to the Note following, like a Prick-crotchet whose following Quaver is placed with the ensuing Note, but play'd with the same Bow of his Prick-crochet; This we have called a Cadent. There is yet another Plain or Smooth Grace called an Acute or Springer, which concludes the Sound of a Note more acute, by clapping down another Finger just as the expiring of it.

§ 16. Shaked Graces.

SHaked Graces we call those that are performed by a Shake or Tremble of a Finger, of which there are two sorts, viz. Close and Open: Close-shake is that when we shake the Finger as close and near the sounding Note as possible may be, touching the String with the Shaking finger so softly and nicely that it make no variation of Tone. This may be used where no other Grace is concerned. Open-shake, is when a finger is shaked in that distance from whence it was removed, or where it is to be set down; supposing the divstance exceed not the wideness of two Frets, for wider than that we never shake. Graces made with Open-shakes are these; a Beat, a Back-fall, an Elevation, a Cadent, and a Double Rellish. The Beat is the same in nature with the plain Beat, the difference only a short shake of the finger before we fix it on the place designed. This, as also the plain Beat, is commonly made from the Half Note, or distance of one Fret. The shaked Back-fall is also the same in nature with the plain, the difference only a shake of the finger taken off, which must be done in the same wideness as it stood. How an Elevation, Cadent, Double Rellish, &c. imploy the Open-shake, will better appear in their Examples which follow; in which (exp.) stands for Explication. The Notes which have an Arch or Stroke over or under them, are play'd with one motion of the Bow.

exp.

To these may be added the Gruppo, Trillo, or any other Movement of the Voyce imitated on the Viol, by playing the like-moving Notes with one motion of the Bow.

Of these fore-mentioned Graces, some are more rough and Masculine, as your Shaked Beats and Back-falls, and therefore more peculiar to the Bass; Others, more smooth and Feminine, as your Close-shake and plain Graces, which are more natural to the Treble, or upper parts. Yet when we would express Life, courage, or cheerfulness upon the Treble, we do frequently use both Shaked Beats and Back-falls, as on the contrary, smooth and swelling Notes when we would express Love, Sorrow, Compassion, or the like; and this, not only on the Treble, but sometimes also upon the Bass. And all these are concerned in our Division-Viol, as imploying the whole compass of the Scale, and acting by turns all the Parts therein contained.

The Hand thus directed, we will now proceed to the Concords of Musick.